Margarethe von Trotta’s documentary reminds us of the reasons for Bergman’s continued influence on cinema today.
Criterion has sensitively restored Cold Water, allowing Americans to finally savor the film’s simultaneously dreamy and docudramatic vitality.
Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.
A ghost story as much about the vanity inherent to international stardom as it is coming to terms with grief and death.
A very charitable reading might say that Roman Polanski’s Based on a True Story is designed to be self-negating.
The French filmmaker is given to speaking of intuition in ironically ritualistic terms.
The film explores the extent to which Olivier Assayas’s characters have always found, and lost, their identities.
Clouds of Sils Maria is pat and self-conscious, though it’s certainly a remarkably acted formal object.
No other film at Cannes this year has had quite the same shock of the strange as Olivier Assayas’s latest.
For Assayas and Almodóvar, their films represent holding patterns like those that their characters can’t escape from.